ABSTRACT
This chapter describes turning of monaural sounds into something very close to stereo and suppressing or completely eliminating the soloist in some music recordings. It shows that existing stereo recordings seem wider and explores intelligible vocal characteristics to sound effects and music. The chapter presents processing tricks to make small speakers sound better, without muddying the sound on good monitors and simulation of some everyday sound textures, such as long-distance telephone conversations. Stereo creates a soundstage along a horizontal line between the two speakers. Ambiences, large sound effects, and scoring that's been recorded in mono doesn't sound wide enough next to stereo sounds; if one tries mixing them on theatrical tracks they can compete with dialog in the center channel. Frequencies are distributed to the left or right depending on where they fall on the comb. A mono viewer hears the two channels equally, canceling the comb and leaving nothing but the original mono signal.
